Hall Pass

Cover Image:

Tracy + the Plastics, Can You Pause That for a Second?, 2003/2014. Performance and video, sound, color; 25:11 min; Courtesy the artist and Fourteen30 Contemporary, Portland

Exploring the legacies of queer, feminist video production, “Hall Pass” brings together artists Cecilia Dougherty, Cheryl Dunye, and Tara Mateik to discuss their work and influences. The panel will consider past and present strategies for examining sexual politics and questions of identity through video, as well as feminist modes of production and networks of support over the past twenty years.

The panel is organized on the occasion of Wynne Greenwood: “Kelly,” an exhibition and a six-month residency in which Greenwood will premiere the complete, recently re-performed and newly mastered archive of Tracy + the Plastics’ performances. The exhibition brings this archive into dialogue with Greenwood’s more recent work. In conjunction with “Kelly,” materials from the historic New Museum exhibitions “Homo Video: Where We Are Now” (1986–87) and “Bad Girls” (1994) will be on view in the Museum’s Resource Center. Dunye organized the video programming for “Bad Girls,” which also featured Dougherty’s influential video Grapefruit in the program.

Sponsors

Major support for the project is generously provided by

Artist commissions at the New Museum are generously supported by the Neeson / Edlis Artist Commissions Fund. Artist residencies are made possible, in part, by Laurie Wolfert. Additional support is provided by the Toby Devan Lewis Emerging Artists Exhibitions Fund.

Additional support for “Seasons” is provided by public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and from the New York City Department of Cultural Affairs in partnership with the City Council. Endowment support is provided by the Rockefeller Brothers Fund, the Skadden, Arps Education Programs Fund, and the William Randolph Hearst Endowed Fund for Education Programs at the New Museum.

The artist would like to acknowledge Henry Art Gallery, the City of Seattle Artist Project, and Tom White and the Estate of Leslie Scalapino.